Schoenberg and Redemption
Schoenberg and Redemption by Julie Brown, published by Cambridge University Press on December 20, 2018, is a reprint edition comprising 273 pages in English. This book presents a new perspective on Arnold Schoenberg’s transition to atonality in 1908, exploring his early atonal works, theoretical writings, and previously unexplored archival documents. Brown argues that Schoenberg’s revolutionary shift was influenced by Wagner’s negative views on Jewish contributions to German music, highlighting the intersection of his Jewish identity and Wagnerian modernism.
Readers will find a detailed examination of the broader Viennese context of the turn of the century, with a focus on the connections between Schoenberg’s work and the ideas of Viennese moral philosopher Otto Weininger. The book also addresses the evolving ideological landscape surrounding Schoenberg’s position in the late 1920s and early 1930s, particularly regarding the concept of redeeming German culture from its Jewish elements. Through this analysis, Schoenberg and Redemption offers insights into the historical and critical dimensions of music during a pivotal era.
Official synopsis Publisher
Schoenberg and Redemption presents a new way of understanding Schoenberg’s step into atonality in 1908. Reconsidering his threshold and early atonal works, as well as his theoretical writings and a range of previously unexplored archival documents, Julie Brown argues that Schoenberg’s revolutionary step was in part a response to Wagner’s negative charges concerning the Jewish influence on German music. In 1898, and especially 1908, Schoenberg’s Jewish identity came into confrontation with his commitment to Wagnerian modernism to provide an impetus to his radical innovations. While acknowledging the broader turn-of-the-century Viennese context, Brown draws special attention to continuities between Schoenberg’s work and that of Viennese moral philosopher Otto Weininger, himself an ideological Wagnerian. She also considers the afterlife of the composer’s ideological position when, in the late 1920s and early 1930s, the concept of redeeming German culture of its Jewish elements took a very different turn.
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